,,architectural ,,illustration1 ,,vol4  
#a1 ,,no4 #g1 ,,july1 #ahie999999       
file which includes the original        
illustrations4       ,see #aebgj-;h4htm 
or #aebgj-;h4zip3                       
7https3_/_/www4gutenberg4org_/dirs_/#a_/
e_/b_/g_/aebgj_/aebgj-;h_/#aebgj-;h4htm7
       or                               
7https3_/_/www4gutenberg4org_/dirs_/#a_/
e_/b_/g_/aebgj_/aebgj-;h4zip7      ,,the
 ,,brochure ,,series  ,,of              
,,architectural ,,illustration4  ,,vol4 
,i4 ,,july1 #ahie4 ,no4 #g4             
,,italian ,,wrought ,,iron4  ,the       
wrought iron of the middle ages1 and of 
the time of the ,renaissance1 and even  
down to the last century1 in ,italy1    
,france1 and ,germany showed1 in the    
crudest examples1 the principal virtues 
of all true decorative art4 ,the reason 
is not far to seek4 ,the difficulties in
 the way of working the material with   
ease imposed certain limitations in     
design and execution which could not    
well be disregarded4 ,the lack of       

machinery 7which is responsible for much
 of the uninteresting character of our  
modern work7 necessarily compelled the  
use of comparatively simple and         
straightforward methods4 ,it was        
difficult to avoid the tell-tale marks  
of the smith's work1 and there were     
limits beyond which his skill could not 
carry it4 ,furthermore the designer1    
taking these limitations into account1  
learned to make the most of his         
possibilities1 and to adapt his design  
to the material--to design in the       
material4 ,how different from the       
methods generally in use now6 ,designs  
made to imitate something done in       
another material1 turned out by the     
hundred from a machine which leaves no  
indication of its work1 with all        
interest of craftsmanship lacking1      
except in places where it may be        
vulgarly thrown in your face to make it 
look as if it had been hand-made4       
,clever imitations of old work are      
produced1 and indeed some of the        

examples shown in our plates are        
reproductions and not originals2 and if 
we cannot have new designs of equal     
excellence this is the next most        
desirable thing4 ,and so far as the     
illustrations are concerned the         
difference between the original and the 
reproduction could never be             
distinguished4  ,the subjects chosen for
 the illustrations of this number are   
lanterns and torch-bearers4 ,the        
lanterns were in reality torch-bearers1 
as they were made for holding masses of 
combustible material which were held in 
place by the central spike4  ,the       
curious lanterns that decorate the      
,strozzi ,palace at ,florence1 and of   
which similar specimens are still       
attached to the angles of the ,riccardi 
,palace1 once the famous residence of   
the ,medici1 in the same city1 are      
among1 the best examples of their kind  
still remaining4 ,we are informed by    
,vasari that these lumiere miravigliosi 
were the work of one ,nicolo ,grosso    

,caparra1 a celebrated artificer of the 
time1 by whom it is not unlikely that   
many of the beautiful rings and cressets
 which still decorate the old palaces of
 ,siena may have been executed4 ,on the 
centre spike was fixed a little iron    
barrel1 containing tow and pitch1 while 
on each of the other spikes a torch was 
fastened4 ,in some of the old engravings
 of the festivities given at night by   
the ,grand ,dukes of ,tuscany1 the      
representations of the effect of this   
mode of illumination may be seen4 ,it is
 said that the privilege of affixing    
such cressets to a residence was one    
conferred by the ,state only on the most
 distinguished citizens1 as a peculiar  
honor1 in acknowledgment of services    
performed4  ,illustration3 ,,xlix4      
,wrought ,iron ,lantern on the ,strozzi 
,palace1 ,florence4  ,,xlix1  ,,wrought 
,,iron ,,lantern ,,on ,,the ,,strozzi   
,,palace1 ,,florence4  ,this is one of  
the finest examples of ,italian wrought 
iron work still existing1 and has       

frequently served as a model for        
lanterns in recent times4               
,illustration3 ,l4 ,wrought ,iron       
,lantern on the ,palazzo ,guadagni1     
,florence4  ,l4  ,,wrought ,,iron       
,,lantern ,,on ,,the ,,palazzo          
,,guadagni1 ,,florence4  ,illustration3 
,,li4 ,wrought ,iron ,lantern on the    
,palazzo ,bocella1 ,lucca4  ,,li4       
,,wrought ,,iron ,,lantern ,,on ,,the   
,,palazzo ,,brocella1 ,,lucca4          
,illustration3 ,,lii4 ,wrought ,iron    
,lantern on the ,palazzo ,baroni nel    
,fillungo1 ,lucca4  ,,lii4  ,,wrought   
,,iron ,,lantern ,,on ,,the ,,palazzo   
,,baroni ,,nel ,,fillungo1 ,,lucca4     
,illustration3 ,,liii4 ,wrought ,iron   
,torch ,holder1 ,public ,square1 ,siena4
  ,,liii4 ,,wrought ,,iron              
,,torch-,,bearer1 ,,siena4  ,this is    
attached to a column which bears the    
group representing ,romulus and ,remus1 
and which is situated in the public     
square near the cathedral4              
,illustration3 ,,liv4 ,wrought ,iron    

,torch ,holder1 ,siena4  ,illustration3 
,,lv4 ,wrought ,iron ,torch ,holder1    
,siena4  ,,liv and ,,lv4 ,,wrought      
,,iron ,,torch-,,bearers1 ,,siena4      
,these two plates represent the same    
torch-holder1 viewed from front and     
side4  ,illustration3 ,,lvi4 ,wrought   
,iron ,torch ,holder1 ,siena4  ,,lvi4   
,,wrought ,,iron ,,torch-,,bearer1      
,,siena4  ,this together with the       
preceding example are reproductions of  
old work4   ,reproduction of            
,architects' ,drawings4  ,the           
development of photographic processes   
for the reproduction of drawings which  
has taken place within the past few     
years has led to a remarkable increase  
in the publication of architects'       
designs1 both in the technical journals 
and in the popular magazines and daily  
press4 ,undoubtedly the recent progress 
of architectural design in ,america is  
largely due to the opportunity for      
comparison thus placed within the reach 
of architects and draughtsmen who could 

not otherwise place their productions   
beside those of their fellows4 ,so      
important has this become that an       
architectural paper is now usually      
judged almost entirely upon the quality 
of its illustrations1 the text matter   
being not only secondary1 but in some   
cases serving only as a vehicle for the 
plates4 ,in fact1 some of the most      
valuable and most highly esteemed       
architectural publications are entirely 
devoid of text4  ,it naturally happens  
that many of the drawings made in the   
ordinary course of an architect's work  
sooner or later fall into the hands of  
the publishers of some of the           
architectural papers or are required for
 publication in other directions4 ,when 
such drawings have been made without a  
proper knowledge of the requirements of 
the reproductive processes the result is
 frequently very unsatisfactory1 and in 
many cases gives an entirely unfair     
impression of the design1 while this    
difficulty might have been easily       

avoided by a little forethought1 and    
without any additional labor4  ,a few   
fundamental points which can always be  
kept in mind will enable draughtsmen to 
make sure that their work will reproduce
 well1 that is to say1 will give a      
fairly truthful reproduction of the     
original drawing4  ,there are at present
 in use a large number of printing      
processes depending upon photography as 
a basis1 by which drawings may be       
duplicated1 but they can be roughly     
divided into two main classes according 
to the character of the original        
drawings4 ,in general1 line drawings may
 be treated by one process1 while those 
in which there is a gradation of tones  
or tints1 no matter in what way produced
 7except by distinct lines71 require    
another and entirely different process4 
,line reproductions may be made in      
several different ways1 but the         
requirements in the original drawing are
 the same in each4 ,the first requisite 
is that a drawing shall be made in      

absolutely black ink on white paper1 and
 with clear1 firm lines4 ,with a little 
care it is just as easy to make a       
drawing in this way as any other1 and a 
satisfactory reproduction can be assured
 when it is kept in mind that nothing   
but black will give the best results4   
,in the early days of process work it   
was customary to use ,india ink ground  
by the draughtsman1 but excellent liquid
 inks1 such1 for instance1 as that made 
by ,charles ,m4 ,higgins  ,co41 have    
taken the place of this1 at a great     
saving of labor and trouble4 ,it is only
 necessary to take care that the ink is 
new and not too watery1 and that a      
sufficient amount is carried in the pen 
to insure a black line4 ,gray lines1    
although full and continuous1 are very  
apt to be ragged and broken in the      
reproduction4 ,aside from this first    
condition there are few others which are
 really mandatory4 ,a drawing made with 
vigorous1 well-defined lines and rather 
open in treatment will1 as a rule1 make 

the most satisfactory reproduction4     
,there is never difficulty in getting a 
good reproduction from such work as that
 by which ,mr4 ,h4,p4 ,kirby or ,mr4    
,d4,a4 ,gregg is known4 ,for this       
purpose their style could hardly be     
improved upon4 ,a drawing can be made   
with fine and delicate lines and still  
reproduce well if there is not too much 
difference in size between the original 
and the reproduction required4 ,in      
general1 the best results can be        
obtained by making the plate about two  
thirds the size of the original4        
,drawings in colored inks on tinted     
paper are difficult to reproduce        
satisfactorily1 and of all combinations 
a bluish ink upon a yellowish paper is  
to be avoided4  ,in general1 it can be  
said that everything1 even including    
line drawings in pen and ink1 can be    
reproduced by the half-tone processes1  
the quality of the plate depending upon 
the character of the original4          
,water-colors1 monochrome drawings in   

wash1 pencil drawings and any           
combinations of these1 are reproducible1
 but with varying success4 ,the same    
conditions which apply to line work also
 hold good to a considerable extent in  
the present case4 ,a combination of     
vigorous black ink lines and lighter    
more delicate work put in with thinned  
or gray ink will in all probability be  
very unsatisfactory1 as the chances of  
holding the relation between the two1 or
 in fact of preserving the lighter lines
 at all1 without over-emphasizing the   
darker portions1 will not be very great4
 ,delicate drawings can seldom be       
reproduced without giving a background  
tint all over1 and this usually destroys
 the life and snap of the original4     
,this is especially true of drawings    
upon reddish or yellowish paper1 which  
on this account should be avoided if    
possible4 ,it should be borne in mind   
that yellow and red photograph dark2 and
 blue1 light4 ,this often makes a great 
difference of effect in the reproduction

 and sometimes makes it impossible to   
get satisfactory results at all1        
especially in delicate drawings4        
,pencil drawings made with light lines  
will not reproduce well1 as there is too
 little contrast in color between the   
lines and the paper2 but sketches made  
with a soft pencil and strong contrasts 
frequently give surprisingly good       
results4  ,when drawings are to be made1
 especially for reproduction1 the       
question of expense is often of         
importance4 ,plates made from pen       
drawings now cost about ten cents a     
square inch1 while half-tone plates made
 of metal for printing on an ordinary   
printing press with type matter cost    
about twenty-five cents a square inch4  
,by using specially prepared process    
papers1 which1 if not sold by a local   
dealer in artists' materials1 can be had
 of ,messrs4 ,wadsworth1 ,rowland  ,co41
 or ,frost  ,adams1 drawings can be made
 in pencil or black crayon which can be 
reproduced by the cheaper process1 and  

will give excellent results4            
,considering the ease with which this   
work can be done and the satisfactory   
results obtained1 it is surprising that 
it has not been more generally adopted4 
,the only drawback to working upon this 
paper is the fact that no erasures or   
changes can be made without ruining the 
surface of the paper4  ,in connection   
with what has already been considered in
 relation to the reproduction of        
drawings1 it may be well to refer to the
 making of plates from photographs4 ,the
 selection of a good photograph is of   
the first importance4 ,it should be     
brilliant1 and with all the contrast of 
light and shade and as much detail as   
possible1 for something is always lost  
in both these respects in the process of
 reproduction4 ,a good plate can be made
 from a good photograph1 but cannot from
 a bad one4 ,the process is the same as 
that referred to above for the          
reproduction of wash drawings1 etc41 and
 the cost the same1 about twenty-five   

cents a square inch4 ,the half-tone     
plates in ,,the ,,brochure ,,series1    
made by ,the ,blanchard  ,watts         
,engraving ,company1 ,boston1 are good  
examples of first-class work of this    
description4      ,the ,brochure ,series
 of ,architectural ,illustration4       
,,published ,,monthly ,,by  ,,bates     
,,guild1  #f ,,beacon ,,street1         
,,boston1 ,,mass4         99       99   
99       99       99  ,subscription     
,rates per year--#ej cents1 in advance  
,special ,club ,rates for five          
subscriptions--#b4jj         99       99
       99       99       99  ,entered at
 the ,boston ,post ,office as           
,second-class ,matter4         99       
99       99       99       99  ,no      
subject at present occupies so important
 a place in the thoughts of ,american   
architects as that of architectural     
education1 if the space given to it in  
recent publications is an indication of 
its importance4 ,the proceedings of the 
annual convention of the ,american      

,institute of ,architects1 held last    
autumn in ,new ,york1 have just been    
published1 and no less than five papers 
are included which deal with one or     
another phase of this subject4 ,the     
later numbers of the professional       
journals also contain several noteworthy
 contributions to the discussion4 ,mr4  
,barr ,ferree's criticism in ,the       
,architectural ,review1 of the methods  
of training pursued in the ,school of   
,fine ,arts in ,paris1 have led to      
several papers by adherents of the      
,french system and to a well-considered 
editorial in the same paper4 ,but the   
most important contribution to the      
question is that of ,mr4 ,henry ,rutgers
 ,marshall in the last number of ,the   
,architectural ,record1 which also      
contains a descriptive article upon the 
,royal ,polytechnicum at ,berlin and its
 course of study4  ,there is very little
 in any of these articles which adds to 
the existing knowledge on this largely  
discussed subject2 it is what might be  

considered a rethreshing of old straw1  
and the main value of all of the        
articles is in the presentation1 which  
may appeal to readers who have not      
before thought of the matter in all of  
its bearings4 ,the papers read before   
the convention begin with the report of 
the committee on education1 by ,mr4     
,henry ,van ,brunt4 ,in this ,mr4 ,van  
,brunt advocates the careful and        
systematic study of architectural       
history2 and it was the purpose of the  
report to bring out discussion which    
might lead to valuable suggestions to   
the architectural schools upon the study
 of this subject4 ,mr4 ,geo4 ,b4 ,post1 
of ,new ,york1 ,professor ,ware1 of     
,columbia ,college1 and several others  
took part in the discussion which       
resulted in merely recommitting the     
question to the committee on education1 
as it was not considered advisable to   
take any definite action which would    
bind the ,institute to a settled policy 
on this question4 ,mr4 ,louis ,h4       

,sullivan1 of ,chicago1 in a thoughtful 
paper complained that education stifles 
and kills the spirit of modern          
architectural work1 and that the natural
 and spontaneous love for beauty found  
in all human beings gives place1 under  
our modern systems of instruction1 to   
the dry formalities of reproducing old  
and dead styles4         99       99    
99       99       99  ,mr4 ,frank ,miles
 ,day and ,mr4 ,r4,w4 ,gibson1 each in  
his own way1 described the advantages of
 foreign travel and the best methods to 
pursue1 as well as the most important   
ends to be attained4  ,mr4 ,russell     
,sturgis1 in a scholarly paper upon the 
subject of ,greek architecture applied  
to modern buildings1 gave a number of   
precepts for the proper use of ,greek   
forms and methods of building as applied
 to our modern conditions4 ,he closed   
his article with a lot of receipts much 
in the style of an architectural cook   
book1 for the application of his        
theories concerning ,greek architecture4

  ,these articles1 as will be seen from 
the above indications1 dealt in most    
cases with one phase only of            
architectural education4 ,they are all  
of course important in their way1 as    
contributing to the general discussion  
of the subject1 but each in turn gives  
only a partial view4         99       99
       99       99       99  ,mr4       
,marshall1 however1 starts with the     
intention of making a full and fair     
statement of existing conditions and    
logically draws his inferences as to the
 best methods of meeting them4 ,he has  
the valuable qualification of being able
 to consider his subject judicially and 
of writing excellent and readable       
,english1 as has already been pointed   
out in these columns1 in the review of  
his recently published book1 ,a,esthetic
 ,principles4  ,he divides the subject  
for convenience into three main         
headings3 first1 the use of tools1      
including in his classification the     
executive function of handling men as   

well as tools in the narrower and       
legitimate sense2 second1 the nature of 
materials employed2 and third1 the      
general principles of beauty4 ,under the
 first heading ,mr4 ,marshall makes one 
important suggestion1 which is at       
variance with common practice among     
architects4 ,after pointing out the     
importance of studying design in the    
solid1 that is1 constantly keeping in   
mind that the forms which are to be     
designed have three dimensions1 and that
 a geometrical projection1 such as a    
plan or elevation1 only partially       
represents its appearance1 he advocates 
the more general use of perspective     
drawing in designing4 ,by this is not   
meant the making of pretty sketches     
after the design is all determined1 to  
mislead impressionable clients1 but the 
serious study of a design to determine  
its appearance from different points of 
view4 ,in fact his suggestion is that   
the usual order of proceeding shall be  
reversed1 and that the design shall be  

made in perspective and then translated 
into accurate terms of such geometrical 
projections as are needed to guide the  
practical workman in carrying out the   
work4  ,in treating of materials ,mr4   
,marshall takes up separately the       
materials of construction and the       
materials of design1 meaning by the     
latter the vocabulary in which the      
architect expresses his ideas1 or the   
accumulation of architectural forms     
making up the various historic styles1  
so-called4 ,he emphasizes the           
importance--in which point he agrees    
with all the other writers above        
referred to--of a wide and catholic     
knowledge of architectural history and a
 careful study of all styles4  ,in      
summing up in the portion of the article
 devoted to the general principles of   
beauty as applied to architecture he    
gives a clear and concise statement of  
the reasons why beauty is in itself a   
necessary and desirable element in      
architecture1 and roughly analyzes the  

conditions under which it exists4       
99       99       99       99       99  
,brochure ,series ,competition1 ,no4 ,i4
  ,the judges in the ,,brochure ,,series
 ,,competition ,no4 ,i1 for a ,piano    
,case have awarded the three prizes as  
follows3--,first ,prize1 #be4jj1 to ,mr4
 ,a4,b4 ,le ,boutillier of ,boston2     
,second ,prize1 #ae4jj1 to ,mr4 ,edward 
,f4 ,maher of ,boston2 ,third ,prize1   
#aj4jj to ,mr4 ,james ,c4 ,green of     
,brooklyn1 ,n4,y4  ,the report of the   
judges with reproductions of the prize  
designs will be given in the next issue 
of the ,,brochure ,,series4  ,the       
drawings have been retained by the      
,h4,f4 ,miller ,piano ,co4 for          
exhibition at their warerooms and will  
be returned by them at the close of the 
exhibition4           99       99       
99       99       99   ,clark ,medal    
,competition4  ,the seventh annual      
competition for the ,robert ,clark      
,testimonial1 under the auspices of the 
,chicago ,architectural ,club1 is       

herewith presented4  ,,conditions4--,the
 competition is open to architectural   
draughtsmen under thirty years of age1  
residents of the ,united ,states1 and   
not practicing architects4  ,the author 
of each design must execute all drawings
 without assistance1 and non-adherence  
to these conditions will cause the      
rejection of the design or designs in   
question4  ,the awards will be made by  
the adjudicating committee on the       
,robert ,clark ,testimonial             
,competition1 and are3 ,first prize1    
gold medal2 second prize1 silver medal2 
third prize1 bronze medal4  ,the two    
designs receiving honorable mention will
 receive special bronze medals4  ,the   
three prize drawings shall become the   
property of the ,chicago ,architectural 
,club4  ,,an ,,art ,,school4--,a        
gentleman wishing to share his large and
 valuable collection of paintings1      
statuary and architectural fragments    
with his townsmen1 has decided to place 
them in a building which he proposes to 

erect for the study of architecture1    
painting and sculpture4  ,the building  
is to face the town square1 and is to be
 not more than one hundred and fifty    
feet in its greatest dimensions4  ,it   
shall consist of one story and a high   
basement4  ,the first story shall       
contain the following rooms3  #ast4 ,a  
large entrance gallery for the placing  
and hanging of statuary and paintings4  
,this hall should be the main feature of
 the plan1 and should be carefully      
arranged for convenient and advantageous
 display1 without destroying the        
architectural effect4 ,it may be one    
continuous hall or divided into parts1  
at the discretion of the architect4 ,it 
may be lighted from above4  #b;d4 ,a    
large glass-covered court to contain    
architectural fragments4  #c;d4 ,an     
amphitheatre1 to seat about two hundred1
 for lectures on art subjects4 ,a       
library and an assembly hall4  #dth4    
,four class rooms4 ,these rooms should  
be well-lighted and of easy access to   

the court and gallery4  #eth4 ,a        
janitor's room and an office for the    
custodian4 ,these rooms may be small1   
but should be conveniently placed either
 at the entrance to the building or to  
the grounds4  ,as the number of the     
students is limited1 the size of the    
rooms is of less importance than the    
circulation1 convenience and artistic   
beauty of the whole4  ,the building1    
being the home of the arts1 should be   
pure in style and classical in feeling1 
though not necessarily archaeological4  
,drawings required1 viz43 ,one plan and 
one section at the scale of             
one-sixteenth of an inch to one foot1   
and the front elevation at the scale of 
one-eighth of an inch to one foot4      
,drawings to be rendered at will2 to be 
mounted on strainers #bhx#dj1 without   
frames or glass4  ,a sealed envelope    
containing the name and full address of 
the author1 with place and date of      
birth1 must be securely fastened to each
 drawing2 the drawings and envelopes    

themselves must not be marked by a      
device of any kind4  ,drawings must be  
delivered to ,john ,robert ,dillon1     
secretary1 ,chicago ,architectural      
,club1 at the club house1 #bgd ,michigan
 ,avenue1 ,chicago1 on or before        
,friday1 ,november #ae1 #ahie1 charges  
to be prepaid4 ,all drawings not        
receiving prizes will be returned at the
 expense of the contributor4            
,l4,j4 ,,millet1 ,chairman2     ,r4,c4  
,,spencer1 ,,jr4     ,,irving ,k4       
,,pond1     ,the ,adjudicating          
,committee on the ,robert ,clark        
,testimonial4           99       99     
99       99       99  ,personal4   ,the 
death of ,richard ,morris ,hunt1 at     
,newport1 ,r4,i41 on ,july #ca1 deprives
 the architectural profession in this   
country of the man who1 since the death 
of ,mr4 ,richardson1 has been its most  
distinguished representative4 ,his      
influence upon ,american architecture is
 possibly less directly traceable than  
that of ,richardson1 and was more of a  

personal nature through association with
 his brother architects1 while          
,richardson's example was his most      
important legacy to the profession4     
,mr4 ,w4,s4 ,hebbard will1 on ,september
 #a1 occupy new offices in the ,grant   
,building1 ,san ,diego1 ,cal41 which he 
is just completing for ,u4,s4 ,grant1   
,jr41 ,esq4  ,among the recent additions
 to the working force of ,mr4 ,aiken1   
,supervising ,architect of the          
,treasury1 are ,mr4 ,f4,b4 ,wheaton1    
formerly with ,messrs4 ,longfellow1     
,alden1  ,harlow1 and ,mr4 ,rice1       
formerly with ,wheelwright  ,haven4     
,mr4 ,geo4 ,h4 ,ingraham1 who has       
recently opened an office at #f ,beacon 
,street1 ,boston1 is now absent on a    
short ,european trip4  ,mr4 ,george ,e4 
,barton1 for several years with ,cram1  
,wentworth1  ,goodhue1 of ,boston1 has  
just started for a tour of ,england and 
,france1 with the special purpose of    
studying the domestic and church        
architecture of the smaller cities and  

towns4  ,mr4 ,c4,h4 ,alden1 who has     
lately returned from six months' travel1
 mostly in ,italy1 has made a careful   
study of the brick and terra-cotta      
architecture of ,northern ,italy4 ,he   
has just entered the office of ,messrs4 
,wyatt and ,noelting1 ,baltimore4  ,each
 year since the ,university of          
,pennsylvania ,traveling ,scholarship   
was founded1 a prominent member of the  
,t ,square ,club has been the winner2   
and that ,mr4 ,percy ,ash1 ex-president 
of this club1 should carry off the prize
 this year is particularly gratifying4  
,mr4 ,ash has twice before competed1 and
 each time came out a close second2 but 
his old luck did not entirely forsake   
him1 for in his venture for the ,roman  
,scholarship ,prize he was very near to 
the front1 winning honorable mention4   
,h4,l4 ,duhring1 ,jr41 was a close      
second for the ,u4 of ,p4 ,scholarship4 
,at the last regular ,t ,square ,club   
meeting1 but two sets of drawings were  
submitted4 ,the program called for a    

,garden for a ,palatial ,country ,house1
 and required a plan of the house and   
terrace at #a_/h scale1 and a plan and  
section of the entire garden at a scale 
of #a_/cb of an inch4  ,the problem was 
modeled after the projet given at the   
,ecole des ,beaux-,arts1 and required so
 vast an amount of graded wash work in  
color1 as to intimidate many of the     
regular competitors4 ,a4,c4 ,munoz1 who 
won first mention1 submitted three      
drawings1 two of them nearly three by   
four feet1 while ,albert ,kelsey was    
disqualified for not having fulfilled   
the requirements by omiting the #a_/h   
scale plan4  ,some discussion advocating
 the postponement of the competition    
took place1 but ,kelsey seemed to prefer
 being disqualified rather than further 
exert himself2 and possibly the         
knowledge that three draughtsmen in     
,day's office and two in ,cope          
,stewardson's office had two unfinished 
designs to complete1 may have influenced
 him4 ,in spite of the result of this   

competition the eleven points previously
 won by ,mr4 ,kelsey give him the       
highest average for the past year's     
work4           99       99       99    
99       99   ,notes4  ,of the many     
minor or industrial arts which enter    
into a complete architectural           
production1 that of the smith is one of 
the most fascinating1 and strangely     
enough1 it is one which at the present  
time has the fewest workers who can be  
worthily compared with those of the     
past4 ,in the estimation of many of the 
most prominent and exacting architects  
of the country there is but one maker of
 ornamental wrought iron in ,america who
 can be trusted to intelligently carry  
out the spirit of a fine design4 ,why   
this should be so it is hard to say1 but
 the fact remains that most of the best 
iron work done in this country in recent
 years has come from the shop of ,john  
,williams of ,new ,york2 and architects1
 it may be said1 instinctively turn to  
him for work of this class4  ,the       

characteristics which distinctively     
belong to the art of the smith1 the     
limitations of material and the purpose 
for which the finished work is intended 
are all taken into account and each     
element given its due importance4 ,to   
,mr4 ,h4,b4 ,stillman1 associated with  
,mr4 ,williams1 who has for a number of 
years taken personal charge of this     
branch of the business1 is largely due  
the success which has attended the      
efforts of his house4  ,illustration    
,the suburban house architecture of the 
towns about ,boston is of exceptional   
interest and its quality is generally   
considered to be equal1 if not superior1
 to that of any other locality in the   
country4 ,the reason for its superiority
 in design and consequent interest is   
largely traceable to the influence of   
such architects as ,peabody  ,stearns1  
,winslow  ,wetherell1 ,andrews1 ,jaques 
,rantoul1 ,hartwell  ,richardson and a  
number of others who have given especial
 attention to residence work4  ,one of  

the most attractive collections of      
houses of this class which we have seen 
is contained in a finely printed little 
booklet issued by ,dexter ,bros41 of    
,boston4 ,it contains photographic      
illustrations of eleven houses designed 
by the architects named above1 and      
others4 ,the houses themselves are      
hardly more attractive than the         
excellently chosen and finely reproduced
 photographic views4 ,messrs4 ,dexter   
,bros41 upon application1 will send this
 booklet to any architect or            
draughtsman4  ,for fastening any sort of
 work to stone or brick the clever      
expansion bolt1 patented and            
manufactured by ,isaac ,church1 of      
,toledo1 is1 on every count1 the best   
device to specify4 ,patterns for every  
special use imaginable are made by him  
and fully described in his catalogue4